摩登家庭 Morden Family
共同合作人（cooperation） 林恩崙Aron lin
憲光二村（Hsian Guang Second Village）
2018
摩登家庭-展覽論述 文/徐翌婷
〈向你〉 Fly to The Sun
全台各地的眷村像是以九重葛為標的物，提及眷村時總會憶起屋牆上的一抹紅豔，趨光生長延伸至牆外，就算不曾於眷村生活，電視劇裡也將九重葛當作場景設定的基礎，不斷重複刻畫相似形象烙印在觀者腦海。藝術家以此為契機，體認身為ㄧ觀察者，佇立於外部視角看待眷村空間配置的階級遞進，將戶外的花移至室內，透過客廳內唯一的窗獲得陽光，以象徵的花種隱喻資源分配不均質狀態
Bougainvillea, Ready-Made Objects, Plywood, Paint
170*148*140cm
Bougainvillea, a type of flower often seen at traditional military family houses in Taiwan has come to symbolise the sight of sunset on their old walls. Such image has since been emphasised further due to its repeated and popularized appearance in film and TV series settings. Here the artist poses as the audience and envisions the spatial design and hierarchical order from afar. By moving outdoor plants indoors, and let them feed on the only source of sunlight through the living room windows, visitors are expected to observe the symbolised uneven distribution of resources in context.
〈星星之戰〉 Star Wars
屋內的擺設已不復在，架空的灰牆結構，藝術家運用了原先客廳、飯廳的區域，將相連的廊道比擬成棋盤上楚河漢界。在相異幅寬的領地裡，雙方擁有相同的方格數與棋，觀者無法俯看綜觀全體，只能在半隱蔽的空間裡，步步為營地將棋往前挪移，臆測敵手的配置、佈局。將現實遊戲化，眷村社群裡的潛規則轉換於棋盤之上，規訓社會下的權力顯露於舉手之間。
Plywood, Paint, Ready-Made Objects
28*28*9cm(x32), Dimensions Variable
28*28*9cm(x32), Dimensions Variable
With the original furnishing gone, the house is left with only grey coloured walls. The artist later utilises and redesigns the space of living room and dining room to simulate a Chinese chess board. With two sides taking up opposite stands, the players are partially shielded from each other at first and thus cannot watch the game in its complete form. Instead, one can only direct and physically move their own chess pieces as the game proceeds, while estimating the next move and strategy of the opponent. Here the artist actualises the chess game in realistic form as a representation of the mind game between military family residents under contemporary social rules and power structure.
〈摩登少年〉 Morden Boy
Writer：BABU&阿微
邀請兩位調性違和的寫手，一位九〇年代出生的塗鴉青年；一位是各地遷移經歷無數的長者，各自在牆上留下痕跡。
其一取自眷村紅磚牆上的文字圖案化，昭告宣傳的精神標語轉換成塗鴉符碼，違和的連結反映了看待事物的價值觀；其二抄寫一段受到時代氛圍的潮流下，伴隨而生的搖滾樂——貓王《監獄搖滾》，記憶中的旋律無意識地哼出，書寫歌詞是回想時空背景的材料。若把文字視為一種載體，時代痕跡為它的表述力量。兩位相異時代的寫手，以自身理解的形式描繪標語、抄錄歌詞，兩者文字皆抽離了內在語意、喪失語言傳達的功能，被轉譯成另一種形式、賦予新的詮釋。
邀請兩位調性違和的寫手，一位九〇年代出生的塗鴉青年；一位是各地遷移經歷無數的長者，各自在牆上留下痕跡。
其一取自眷村紅磚牆上的文字圖案化，昭告宣傳的精神標語轉換成塗鴉符碼，違和的連結反映了看待事物的價值觀；其二抄寫一段受到時代氛圍的潮流下，伴隨而生的搖滾樂——貓王《監獄搖滾》，記憶中的旋律無意識地哼出，書寫歌詞是回想時空背景的材料。若把文字視為一種載體，時代痕跡為它的表述力量。兩位相異時代的寫手，以自身理解的形式描繪標語、抄錄歌詞，兩者文字皆抽離了內在語意、喪失語言傳達的功能，被轉譯成另一種形式、賦予新的詮釋。
Two writers are invited to mark the wall: one is a graffiti artist born in 1990s, and the other is an elder that has nowhere to call home.
The artist takes inspiration from the propaganda words and phrases often written on the walls of military family houses. These language once used for propaganda are now modified into images and symbols with opposing interpretations that signify the ever changing ideologies of our society. The elder on the other hand, records the memorized lyrics of Elvis Presley’ Jailhouse Rock to speak for an old time glory - as the song is recalled, words of the lyrics are the only piece of evidence to be grasped from her memories.
If language and words are seen carriers of a creation, then time and memories are their heart. In this work, two writers, distinct in background and age, coexist: one strives to interpret propaganda in his own way, while the other struggles to write down lyrics recalled from her past. Here both forms of language have failed to convey its original significance and meaning; respectively, they are transferred into a new form, with its own fresh annotation endowed.
The artist takes inspiration from the propaganda words and phrases often written on the walls of military family houses. These language once used for propaganda are now modified into images and symbols with opposing interpretations that signify the ever changing ideologies of our society. The elder on the other hand, records the memorized lyrics of Elvis Presley’ Jailhouse Rock to speak for an old time glory - as the song is recalled, words of the lyrics are the only piece of evidence to be grasped from her memories.
If language and words are seen carriers of a creation, then time and memories are their heart. In this work, two writers, distinct in background and age, coexist: one strives to interpret propaganda in his own way, while the other struggles to write down lyrics recalled from her past. Here both forms of language have failed to convey its original significance and meaning; respectively, they are transferred into a new form, with its own fresh annotation endowed.
〈房間〉Room
Writer：BABU&阿 一幢房屋擺放家具、人們居住，社會底蘊就此發酵。
一個空場置入物件、創作進駐，藝術實踐就地產生。
藝術家賦予三間相似格局一個家的想像，添加裝飾家具與時代摩登象徵性的擺設，房間的更迭樣貌隨著居住的人當下的細微狀態而調整。諾大的灰色空場配置單幅掛於牆上的日常景色，懸置於當下的時空鐘擺，凝滯於平面圖像裡前後擺盪，仿似過去的紀念，又如未來的預言，久久揮之不去。
一個空場置入物件、創作進駐，藝術實踐就地產生。
藝術家賦予三間相似格局一個家的想像，添加裝飾家具與時代摩登象徵性的擺設，房間的更迭樣貌隨著居住的人當下的細微狀態而調整。諾大的灰色空場配置單幅掛於牆上的日常景色，懸置於當下的時空鐘擺，凝滯於平面圖像裡前後擺盪，仿似過去的紀念，又如未來的預言，久久揮之不去。
Printmaking,photolithography
22.5×15.5cm、25.5×17.5cm(x2)
Pieces of furniture and human interaction at home marks the start of a society.
Objects and created works placed in an empty space signifies the production of art.
The artist sets up three rooms that resemble human home, with decorative pieces of furniture arranged to symbolize the contemporary modernity. The rooms show slight changes according to the momentarily emotional or physical status of the inhabitant. A landscape portrait is hanged onto the great grey wall. A rhythm clock counts the every second of time that is passed in the room - as a souvenir of the past, and a prophecy for the future that stays forever.
